Tsew The Kid Fitia

Smokey Joe & The Kid present their first release LP “Nasty Tricks” on French record label Banzaï Lab. A dangerously efficient mix of hip hop, electro and old Swing, that even 2Pac and Al Capone couldn’t say no to… In this project, Smokey Joe and The Kid, transport us back in time gangsters run streets of 1930’s Chicago. After a 1st EP released in June 2012 and of which 2 tracks been on Beatport HipHop Top 100 during 3 months, the duet comes back in March 2013 to confirm that try with their 1st LP “Nasty Tricks”. Great collaborations enhance that first opus: Puppetmastaz, R-Wan (Java), Lateef the Truthspeaker, Nomadic Massive, Youthstar (Chinese Man), Random Recipe, Sugaray.

These two Bordeaux-born beatmakers mix electronic-infused hip-hop with the groove and melodies of 1930’s swing. Percussion solos played with scratches, beats, and melodies banged out on the MPC, everything is performed live, often incorporating guitars, brass sections, and drum sets. Currently the duo released their second album, ‘Running to the Moon’ in 2016, featuring the voices of Ua Tea, Blake Worrell, ASM among others.

Pretenders was first issued in December 1979 and features the singles ‘Stop Your Sobbing’, ‘Kid’ and UK chart-topper ‘Brass in Pocket’. Less than two years later the follow-up Pretenders II was issued. Hits included ‘Talk of the Town’ (issued much earlier in April 1980), ‘Message of Love’ and ‘I Go To Sleep’. Both albums featured the classic line-up of Chrissie Hynde (vocals and guitar), James Honeyman-Scott (guitar), Pete Farndon (bass) and Martin Chambers (drums).

Aaron Copland did as much as anyone in establishing American concert music on the world stage, and his ballet scores proved to be among his most important and influential works. Grohg is the most ambitious example of his Parisian years, a precociously brilliant one-act ballet scored for full orchestra, inspired by the silent expressionist film Nosferatu. The first example of Copland’s new ‘Americanized’ music of the 1930s was Billy the Kid, based on the life of the 19th century outlaw and heard here in its full version. This was the first fully fledged American ballet in style and content: brassy, syncopated, filmic and richly folk-flavoured.

Ever since 2001's Songs from the West Coast, Elton John and his longtime collaborator, Bernie Taupin, have been deliberately and unapologetically chasing their glory days of the early '70s, but nowhere have they been as candid in evoking those memories as they are on 2006's The Captain & the Kid, the explicitly stated sequel to 1975's masterpiece Captain Fantastic and the Brown Dirt Cowboy…

On her most accessible album yet, Kaitlyn Aurelia Smith draws out the organic qualities of her Buchla modular synth. But The Kid sparks a bodily pleasure alongside her music’s cerebral delights.

Aaron Copland - Appalachian Spring, Billy the Kid & Rodeo - San Francisco Symphony, Michael Tilson Thomas (2005) {RCA-BMG}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 336 Mb | MP3 @320 -> 179 Mb
Full Artwork @ 300 dpi (png) -> 59 Mb | 5% repair rar
© 2005 RCA / BMG Music | 82876-65840-2
Claccical / Contemporary Classical

I'm a big fan of Copland. His music can be dramatic, sad, joyful, and just plain fun. I also think his music is a good vehicle for personal expression of the performer/conductor. I don't think this is true for all composers–-I cringe at some interpretations of Bach–-but I usually enjoy it when a performance of Appalachian Spring or Bill the Kid contains some individual stamp that indicates the performer is really feeling and enjoying what they are doing. The combination of Copland's timeless compositions and subtle playing effects can be very sophisticated indeed.